Piment Rouge

An intimate study of one of the most influential and provocative thinkers of the 20th century tracking feminist icon Susan Sontag’s seminal, life-changing moments through archival materials, accounts from friends, family, colleagues, and lovers, as well as her own words, as read by Patricia Clarkson.

On October 17 and 18, 1961, during a non-violent demonstration against the imposed curfew, dozens of Algerians were murdered in Paris by police officers acting on orders from their superiors. For forty years, this crime has been concealed; yet these events, the deadliest on French soil since the Second World War, resemble, in some respects, the darkest hours of the collaboration. Why has this history been hidden? Under what conditions, and in the name of what reasons, did officials of a democratic state conceal the scale and gravity of such events?

Three demonstrators from October 17, 1961, and a journalist recount the peaceful success of the demonstration and its brutal repression in the streets of Paris. Five months before the end of the Algerian War, the Gaullist government violently suppressed (40 to 300 deaths in a single evening, according to various sources) a peaceful demonstration by the entire Algerian civilian population of the Paris region, protesting the curfew imposed solely on this population (all participants held French citizenship). The government long denied this state crime; the official version: 3 deaths! In 1962, these events were granted amnesty by a simple decree (later enacted into law) issued by the same Gaullist government.

On October 17, 1961, in response to the curfew imposed on Muslim Algerians by Paris police prefect Maurice Papon, the FLN Federation of France organized a peaceful demonstration in the streets of the capital. The demonstration turned into a bloody crackdown: unprecedented violence, thousands of arrests, hundreds missing, and dozens dead. Today, much is known about the violence of that night: at least 200 Algerians were killed, beheaded, beaten, or thrown into the Seine; 11,500 others were arrested and often tortured. Hundreds were deported back to Algeria. Long silenced, the repression has been acknowledged thanks to the work of remembrance and eyewitness accounts.

Immigrated to the Paris region since 1964, Kader decides to spend the summer holidays with his family in his native village, not far from Algiers. These few weeks, so eagerly awaited by both sides, constitute a special moment full of strong emotions. The camera follows the family in their meetings, their reunions, their difficulties, their visions of the country and its region, the celebrations, the weddings, their return to France… This film raises many questions. Within this family itself, between those who stayed in the country and those who emigrated to France, how do we perceive the situation in Algeria? What hopes do each of them have for their country? What about the Franco-Algerian relationship? Contemporary immigration? The desire for exile of Algerians today? Different discourses on both sides of the Mediterranean? The desires of each of them…

Five young Italian climbers, Paolo Grunanger, Lorenzo Marimonti, Pietro Meciani, Lodovico Gaetani and Giorgio Gualco, members of the expedition organized under the patronage of the Milanese section of the Italian Alpine Club, reached Tamanrasset, in Hoggar, the Tuareg kingdom. From there, with a caravan of camels, they head towards the mountainous volcanic chain of Tahalra, little known to Westerners. During the exploration, climbers will climb seven virgin peaks via very difficult routes and at the same time carry out topographical surveys.

Between 1954-1962, one hundred to three hundred young French people refused to participate in the Algerian war. These rebels, soldiers or conscripts were non-violent or anti-colonialists. Some took refuge in Switzerland where Swiss citizens came to their aid, while in France they were condemned as traitors to the country. In 1962, a few months after Independence, Villi Hermann went to a region devastated by war near the Algerian-Moroccan border, to help rebuild a school. In 2016 he returned to Algeria and reunited with his former students. He also met French refractories, now living in France or Switzerland.

Widerstandsmomente (Moments of Resistance) carries voices, writings, and objects from the anti-Nazi resistance into the present. Politically engaged women of today respond to historical resistance and make links to current events. A line is drawn from what was before and what is today to what might be: a society based on solidarity without discrimination or exclusion.

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Habiba Djahnine went to meet activists who continue to take action. To meet them, to capture them in the spaces where they live, work or fight. They inscribe a few words of our tormented history. Memory, memory gaps, background noise, demonstrations... The film bears witness to 20 years of political mobilization/repression in Algeria.

Rosemarie Blank made this film, which focuses on women aged around fifty, in collaboration with the organisation VIDO (Dutch: Vrouwen in de Overgang/Women in the Menopause). An all but invisible group of housewives who have spent their lives putting themselves last to ensure that their husbands and children can reach their full potential.

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During a drawing workshop, a girl traces on the wall of her room the memory of her sexual abuse; a young woman recalls the night in which the deception of those she once called friends turned into harassment. By sharing the stories with other girls and women, they realise that these are not isolated events but fragments of a shared wound.

A documentary that resurrects the buried history of the outrageous, often brilliant women who founded the modern women's movement from 1966 to 1971.

Sahara - Hutsetik Haitzera is a mountain documentary about the climbing of Tizouyag Nord in the Hoggar Desert in Algeria by the Spanish Basque team composed of Alberto Iñurrategi, Jon Lazkano, Juanjo San Sebastián, Jon Beloki and Asier Aranguren. Made by climber Alberto Iñurrategi in 2002 and produced by Iñurrategi Anaiak, it is part of the Oinak Izarretan series.

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Made just three years after the end of the French-Algerian War (1954-1962), Gillo Pontecorvo's The Battle Of Algiers instantly ignited discussions of this complex historical period. Using the film as a point of reference, this 2004 documentary attempts to reconstruct the Algerian experience of the battle for independence.

This fascinating political look at a little-known chapter in women's history tells the story of "Jane", the Chicago-based women's health group who performed nearly 12,000 safe illegal abortions between 1969 and 1973 with no formal medical training. As Jane members describe finding feminism and clients describe finding Jane, archival footage and recreations mingle to depict how the repression of the early sixties and social movements of the late sixties influenced this unique group. Both vital knowledge and meditation on the process of empowerment, Jane: An Abortion Service showcases the importance of preserving women's knowledge in the face of revisionist history. JANE: AN ABORTION SERVICE was funded by the Independent Television Service (ITVS) with funds provided by the Corporation for Public Broadcasting.

The Desert Rocker is an intimate, witty and profound portrait of the extraordinary Hasna El Becharia, a pioneer Gnawa artist. The first musician to break through the social barrier of this culture, she empowers and inspires women of all ages by reclaiming a musical tradition reserved for men for centuries . A singularly talented artist, she leads women to redefine their roles and challenge cultural norms , one musical performance at a time.

The short film is based on an investigation by Dino Buzzati. It tells the story of Melinda, a mountain girl turned into a witch by her environment and circumstances. In September 1965, Buzzati travelled to Abruzzo (near Teramo, at the foot of the Gran Sasso) on behalf of the newspaper Corriere della Sera, seeking stories for his investigative series titled "I misteri d'Italia" (The Mysteries of Italy). There, he gathered the story of Melinda, a real-life woman (who died in 1962 at the age of 93) regarded by the local community as the last true Abruzzese witch. Buzzati described Melinda not as an evil being, but as a woman victimized by fate and superstition. While Buzzati was fascinated by the magical and mysterious aspects of her tale, Lù Leone reinterpreted the same story in 1976 through a political and feminist lens.